Snuff

It would be nice to make possible to record in 2.4:1 format on the Pocket 4K to save the storage. Ursa allows it, but P4K not.

Camera : Blackmagic Pocket Cinema Camera 4K
Lens : Metabones EF-MFT Speed Booster Ultra 0.71x + Sigma 17 - 70 F2.8 - 4 Zoom. + Kani Variable ND.
4:1 RAW in 4K DCI 4096 x 2160p at 25-60fps on CFast 2.0 cards. 

You easily find out the honest company with respect to its customers: every declared parameter in the camera specification must be confirmed by a document confirming the declared parameters. This can be the results of production tests, any documents, test images, which justifies the declared characteristics. The company should be responsible for its words and give this information to the user before selling the camera.

It is sad but there is no waveform in the BMPCC4K. It would be nice to have it to be able to select accurate WB with a grey card. 

Here is a comparison of YT vs Vimeo compression. It seems that diffusion filters can help to get less compression artefacts by masking small details in the image that will still be lost.

I'm glad that in the end SB 0.64x works fine with the BMP4K. Crop 1.21 gives us almost a full frame (minus soft dark corners of the lens). 

The author of this video "Bubble Gum" answered that he didn't use any IR CUT filters. Does it mean that there is not IR pollution in the BMP4K and we don't need IR CUT filters anymore?

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Do you need to use a IR cut?

I used Hoya Pro NDs. Didn't see an IR.

BMPCC4K Footage "Bubble Gum" filmed with Blackmagic Pocket Cinema Camera 4K
RAW 3:1 4K DCI
24fps Project / 60fps Off-Speed
ISO 400, 1250, 3200, 5000
Samsung T5 SSD through USB-C
DJI Ronin-S
Metabones EF to MFT T Speedbooster XL 0.64x
Shot with Contax Zeiss MM primes: 35/f2.8, 50/f1.4, 85/f1.4, 135/f2.8
95% Ronin-S / 5% handheld.

A comment from vimeo that explains a possible reason of the clipped highlights in this video:

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Zebuk

Thank you for shooting these, man. Just a quick note from an original bmpcc user. You should try shooting the day scenes (sunset etc) with a higher iso. When you drop the iso you drop the noise, but you also drop the dynamic range from the highlights. It would have been nice to really see that sunset with 2 more stops of dynamic range that you lost going to 100 iso. It seems counter intunitive, but it really is how the camera works best in high contrast situations. Thanks again man!

Finally, a soft organic picture, but the sun, glare looks overdone. We need to carefully select the plot and shooting parameters to fit into the DR.

Camera: BMPCC
Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F)
Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4
ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

I compared my Tokina 28-70mm f/2.8 with Nikon Ai-s 28mm f/2 at 28mm and Tokina was sharper at all stops.

On the picture below (Angenieux 70-210) you can see CA (watch at legs), the same CA have Tokina 28-70. But i prefer to call this look as part of the Angie's character. 

It would be nice to save stills not only as DNG but as PNG with baked LUT and chosen aspect ratio.

13 minutes ago, Anaconda_ said:

Which model of Tokina ATX pro are people liking for video?

Tokina 28-70 f/2.6-2.8, Tokina 28-70 f/2.8 with screw in hood (1st ver., on the attached picture) and with bayonet hood (2nd ver.), all with 77mm filter thread. Avoid 72mm version (Tokina Pro SV).

A question to Captain Hook.

Do we need to purchase for the BMPCC4K a protective glass for its 5" display? Or is it already installed on the factory?

Old Pocket.

It's still early to draw conclusions, but from the first BMPCC4K shoot I expected more ...
Here's another video for you to compare with GH5s.

Comparing IQ of the Pocket4K and Terra4K you should pay attention to lenses. He used in this review hi quality glass. I'm sure Pocket 4K will be good too with Leica R's

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Lots of different lenses since there are so many shoots and locations. My base set is 5 Leica R primes ranging from 28-135mm so those are in a lot of scenes - the little girl with the markers was definitely the 28mm, but I can't remember every shot. One of the Norway days I borrowed my friend's Sigma 18-35mm Art. The Bladerunner looking stuff in the office was on a 24-70mm Canon L, The stuff at night with the cars in the rain was a Pentax 50mm f/1.4 Super Takumar, and the shot of the model with the chart and OLPF flare were on a Zeiss CP2 50mm cine prime.

A quote from the review of Terra 4K: https://nofilmschool.com/2018/04/review-kinefinity-terra-4k-offers-bang-buck

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Dynamic Range. This is a big one. Kinefinity claims 14 stops. I’ve attended one test personally and have seen the results of another online that both peg the dynamic range of the Terra 4K at 12 2/3 stops, more than a stop lower than the manufacturer’s claim. RAW recording has not yet been enabled via firmware update so it’s possible that the addition of RAW will add some more highlight retention, but the camera does not seem to be able to record the claimed 14 stops that were part of my buying decision. This is disappointing. I reached out to Kinefinity for comment and they’ve said that an engineer is investigating the issue.

Cover area comparison of BMPCC4K with and without speed booster 0.64x.

In this video you can compare Sigma 18-35 and Tokina 28-70. Shot with Ursa Mini 4.6K. Tokina is very filmic (starts at 2:36).